1994 Highlander Vol 77 No 9 November 2, 1994
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(1984): Michael Hedges and the De/Reterritorialization of the Steel-String Acoustic Guitar
Marcel Bouvrie 4069277 | Beyond Aerial Boundaries (1984): Michael Hedges and the De/reterritorialization of the Steel-String Acoustic Guitar Beyond Aerial Boundaries (1984): Michael Hedges and the De/reterritorialization of the Steel-String Acoustic Guitar Marcel Bouvrie 4069277 Master thesis Applied Musicology July 2018 University Utrecht Supervisor: Prof. Dr. Emile Wennekes Contents: Introduction p. 2 Methodology p. 4 Chapter 1: Assemblage p. 8 Chapter 2: The Rhizome p. 13 Chapter 3: De/reterritorialization p. 20 Conclusion p. 31 Bibliography p. 33 1 Marcel Bouvrie 4069277 | Beyond Aerial Boundaries (1984): Michael Hedges and the De/reterritorialization of the Steel-String Acoustic Guitar Introduction In 1984, acoustic guitar virtuoso Michael Hedges released his second album, Aerial Boundaries, which many describe as the genesis of a new solo acoustic guitar movement:1 a movement where guitarists expand the sonic and musical palette of the acoustic guitar by optimally combining its melodic, harmonic, timbral and percussive potential. This, in order to develop the acoustic guitar as a fully-fledged solo instrument, rather than its more typical role of accompanying instrument. Before Hedges, there were already several acoustic guitarists who challenged the convention that the steel-string acoustic guitar’s primary function is that of an instrument for accompaniment. John Fahey, Leo Kottke, Will Ackerman and Preston Reed were the most prominent guitarists to try to validate the steel-string acoustic guitar as a solo instrument. They all had their own unique idiosyncratic approach within this self- proclaimed mandate, but none had the disruptive impact that Hedges had, and still has. Today, this new acoustic guitar movement – often described as Fingerstyle or Percussive Guitar – is larger and more popular than ever. -
The Making of a Modern Fingerstyle Album: Exploring Relevant Techniques and Fingerstyle History
University of Huddersfield Repository Cronin, Reece The Making of a Modern Fingerstyle Album: Exploring Relevant Techniques and Fingerstyle History Original Citation Cronin, Reece (2018) The Making of a Modern Fingerstyle Album: Exploring Relevant Techniques and Fingerstyle History. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34632/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ The Making of a Modern Fingerstyle Album: Exploring Relevant Techniques and Fingerstyle History Reece Cronin A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Master of Music by Research The University of Huddersfield February -
The Making of a Modern Fingerstyle Album: Exploring Relevant Techniques and Fingerstyle History
The Making of a Modern Fingerstyle Album: Exploring Relevant Techniques and Fingerstyle History Reece Cronin A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Master of Music by Research The University of Huddersfield February 2018 1 Table of Contents Introduction .......................................................................................... 3 1: Methodology ..................................................................................... 4 2: Techniques ........................................................................................ 6 3: Fingerstyle History ............................................................................. 7 Blues ...................................................................................................... 7 Folk ........................................................................................................ 9 Modern Fingerstyle ............................................................................ 10 4: Album Analysis ..................................................................................... 12 Conclusion ........................................................................................... 17 Bibliography ........................................................................................ 18 Discography ........................................................................................ 19 i. The author of this thesis (including any appendices and/or schedules to this thesis) -
Michael Hedges Watching My Life Go by Mp3, Flac, Wma
Michael Hedges Watching My Life Go By mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Folk, World, & Country Album: Watching My Life Go By Country: Germany Released: 1985 Style: Acoustic MP3 version RAR size: 1847 mb FLAC version RAR size: 1520 mb WMA version RAR size: 1239 mb Rating: 4.1 Votes: 755 Other Formats: MP3 VQF MP4 MMF ASF WMA AC3 Tracklist A1 Face Yourself 4:42 A2 I'm Coming Home 4:10 A3 Woman Of The World 4:12 A4 Watching My Life Go By 3:13 A5 I Want You 3:55 B1 The Streamlined Man 3:43 B2 Out On The Parkway 2:53 B3 Holiday 5:11 B4 All Along The Watchtower 2:48 B5 Running Blind 4:50 Companies, etc. Made By – TELDEC Schallplatten GmbH – 6.26262 AP Phonographic Copyright (p) – Windham Hill Records Copyright (c) – Windham Hill Records Published By – Naked Ear Music Published By – Windham Hill Music Credits Guitar – Michael Hedges Producer – Elliot Mazer Vocals – Michael Hedges Notes 1985 Windham Hill Records DMM Direct Metal Mastering Barcode and Other Identifiers Barcode: 4 001406 262623 Matrix / Runout (runout side 1): DMM o A c-6.26 262-01-1 Matrix / Runout (runout side 2): o DMM A c-6.26 262-01-2 Rights Society: GEMA Label Code: LC 9757 Other versions Category Artist Title (Format) Label Category Country Year Michael Watching My Life Go By Open Air OA-0303 OA-0303 US 1985 Hedges (LP, Album, EMW) Records Michael Watching My Life Go By Open Air L 43044 L 43044 Australia 1985 Hedges (LP, Album) Records Michael Watching My Life Go By Open Air C28Y5064 C28Y5064 Japan 1985 Hedges (LP, Album) Records Michael Watching My -
Innerviews Book
INNERVIEWS: MUSIC WITHOUT BORDERS EXTRAORDINARY CONVERSATIONS WITH EXTRAORDINARY MUSICIANS Anil Prasad ABSTRACT LOGIX BOOKS CARY, NORTH CAROLIna Abstract Logix Books A division of Abstract Logix.com, Inc. 103 Sarabande Drive Cary, North Carolina 27513 USA 919.342.5700 [email protected] www.abstractlogix.com Copyright © 2010 by Anil Prasad ISBN 978-0-578-01518-7 Library of Congress Control Number: Pending Printed in India First Printing, 2010 All rights reserved. No part of this book may be reproduced in any form by any means without the written permission of the author. Short excerpts may be used without permission for the purpose of a book review. For Grace, Devin and Mimi CONTENTS Acknowledgements vii Foreword by Victor Wooten viii Introduction x Jon Anderson: Harmonic engagement 1 Björk: Channeling thunderstorms 27 Bill Bruford: Storytelling in real time 37 Martin Carthy: Traditional values 51 Stanley Clarke: Back to basics 65 Chuck D: Against the grain 77 Ani DiFranco: Dynamic contrasts 87 v Béla Fleck: Nomadic instincts 99 Michael Hedges: Finding flow 113 Jonas Hellborg: Iconoclastic expressions 125 Leo Kottke: Choice reflections 139 Bill Laswell: Endless infinity 151 John McLaughlin & Zakir Hussain: Remembering Shakti 169 Noa: Universal insights 185 David Sylvian: Leaping into the unknown 201 Tangerine Dream: Sculpting sound 215 David Torn: Mercurial mastery 229 Ralph Towner: Unfolding stories 243 McCoy Tyner: Communicating sensitivity 259 Eberhard Weber: Foreground music 271 Chris Whitley: Melancholic resonance 285 Victor Wooten: Persistence and equality 297 Joe Zawinul: Man of the people 311 Photo Credits 326 Artist Websites 327 About the Author 329 vi ACKNOWLEDGEMENTS Many people have contributed to Innerviews, both the website and the book, across the years. -
Open Thesis - Full.Pdf
! ! The Pennsylvania State University The Graduate School School of Music BECAUSE IT WAS THERE: INFLUENCE AND INTERTEXTUALITY IN THE MUSIC OF MICHAEL HEDGES A Thesis in Musicology by Dylan N. Crosson © 2019 Dylan Crosson Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts May 2019 ! ii The thesis of Dylan N. Crosson was reviewed and approved* by the following: Charles Youmans Professor of Musicology Thesis Adviser Taylor A. Greer Associate Professor of Music Theory Marica S. Tacconi Professor of Musicology Graduate Officer and Associate Director of the School of Music *Signatures are on file in the Graduate School. ! iii ABSTRACT Over the course of his thirteen-year career, Michael Hedges revolutionized the fingerstyle guitar world through his revolutionary techniques. Despite these innovations, however—or perhaps because of them—Hedges’s accomplishments as a composer have been overlooked. Hedges’s underlying methods link him to a much broader, more celebrated tradition of composers. This thesis considers the music of Hedges from this standpoint, with particular attention to questions of compositional influence. Chapter One establishes Hedges as an “idiosyncratic minimalist” who simultaneously inherits the style from its founders while exercising his direct links to its roots. To do so, this chapter considers minimalism theoretically and culturally to show the complex nature of Hedges’s relationship with minimalism. Chapter Two investigates Hedges’s compositional uses of the Fibonacci Series and Golden Ratio. Tracking his fascination with the subject back to a book investigating the manifestations of the Fibonacci series in Bartok’s music, this chapter adopts this book’s methodology to search for such manifestations in the music of Hedges. -
International Guitar Night
K k JANUARY 2016 K g VOL. 28 #1 H WOWHALL.ORGk the world’s premier touring guitar performed with the International festival, each show bringing Guitar Night troupe in 2009 and together the most interesting and 2011. His Latin Swing Project innovative acoustic guitarists to headlined the inaugural U.S. tour exchange musical ideas in a public of In The Footsteps Of Django in concert setting. For each tour, 2012. Brian Gore invites a new cast of Since Mike Dawes released his guitar luminaries to join him for debut single with Candyrat special evenings of solos, duets Records in June 2012, his interna- and quartets that highlight the tional profile has exploded. The dexterity and diversity within the young performer’s virtuoso style, world of acoustic guitar. Brian littered with subtle nuances and founded IGN in 1995 as a forum micro-techniques, has earned the for the world’s finest guitarists/ 24 year old Brit massive interna- composers to play their latest tional critical acclaim. Artists as original songs and share musical globally diverse as Gotye and ideas and talent with their peers. Newton Faulkner have worked Lulo Reinhardt, Django with Mike in the studio, whilst Reinhardt’s grand nephew, is a Justin Hayward of The Moody third generation master from Blues acquired a right hand axe Germany. He has retained the man in Mike as they toured incredible Reinhardt soul, speed together. and dexterity and updated the Mike’s stage show has been repertoire. Taught by his father, described as, “a youthful energy at twelve Lulo played in the Mike and charisma that blows the lid INTERNATIONAL GUITAR NIGHT Reinhardt Sextet and later the off the traditional guitar concert.” group Django Reinhardt and the His videos gain hundreds of thou- FEATURING LULO REINHARDT, MIKE DAWES, ANDRE KRENGEL & BRIAN GORE Heartbreakers. -
Lifetime Achievement Award, Wins Album of the Year and Best Contemporary Instrumental Album for the GATHERING
Will Ackerman Honored with Lifetime Achievement Award, Wins Album of the Year and Best Contemporary Instrumental Album for THE GATHERING Legendary producer and guitarist Will Ackerman, Founder of Windham Hill Records, continues his record of excellence with Imaginary Road Studios; Ackerman earns Lifetime Achievement Award, Album of the Year and Best Contemporary Instrumental Album at 9th Annual ZMR Music Awards. He also produced Todd Boston’s Touched by the Sun, which won Best Instrumental Album: Acoustic. The Gathering, a multi-award-winning album from Will Ackerman’s new West River Records, includes various artists who have recorded music at his Imaginary Road Studios Los Angeles, CA (PRWEB) May 14, 2013 Recording artists, radio executives and music industry professionals applauded as GRAMMY- winning guitarist Will Ackerman took the stage time and again at the ZMR Music Awards in New Orleans last Saturday night. Ackerman’s awards celebrated recent productions by the founder of Windham Hill Records as well as his influence of excellence on the music he touches. Ackerman, now owner of Imaginary Road Studios, in Vermont, was honored with a Lifetime Achievement Award by ZMR, and, also took home Album of the Year for The Gathering, a compilation of music and artists he recently produced, released by his new record label, West River Records. The Gathering also took home the award for Best Contemporary Instrumental Album. All of the artists “Will has a magical way of bringing featured on the album recorded with Imaginary out the best in an artist. He has Road, including Ann Sweeten, Devin Rice and Erin the perspective and intuition to Aas, Fiona Joy Hawkins, Jeff Oster, Kathryn Kaye, know not only what notes should be Kori Linae Carothers, Lawrence Blatt, Masako, Paul played, but also what notes to Jensen, Peter Jennison, Shambhu, Todd Boston, leave out…” Dean Boland, Denise Young, Frank Smith, Ken Jeff Oster Verheecke, Patrick Gorman, Rhonnda Cadle, Rocky Fretz, Rudy Perrone, Stanton Lanier and Ackerman himself. -
For Immediate Release
FOR IMMEDIATE RELEASE: For more information, contact: Nichole Cooper, Vice President-Marketing & Communications Sharon Lynne Wilson Center for the Arts Cell: 773-398-3252 Office: 262-373-5034 Email: [email protected] COMPETITION WINNERS ANNOUNCED AT MULTI-GENRE INTERNATIONAL GUITAR FESTIVAL Milwaukee guitarists awarded fingerstyle honors, recently engaged duo dominates rock Brookfield, WI (August 19, 2019) Hailing from 50 cities around the world, 15 of the next generation of guitar greats were announced as winners of the seventh annual international Wilson Center Guitar Festival (Guitar Festival) on Saturday, August 17, 2019. Newly expanded this year to five genres—Blues, Classical, Fingerstyle, Jazz, and Rock—the three-day Guitar Festival welcomed a total of 61 semi-finalists to the Sharon Lynne Wilson Center for the Arts (Wilson Center) in Brookfield, Wisconsin, from August 15-17, for a chance at their share of $40,000 in cash prizes and a performance at Milwaukee Irish Fest. From a record-setting pool of more than 120 YouTube preliminary round applications, a jury of independent guitar professionals in each of the five genres selected the semi-finalists who were invited to compete at the Wilson Center. On-site judging for the semi-final and final competition rounds was “blind,” with judges located behind a screen. For the list of 2019 competition judges, please visit www.wilson-center.com/2019-guitar- festival-judges. “Over the seven-year history of the Festival, more than 500 guitarists have applied from more than 30 countries -
Guitar Week, July 30-August 5, 2017 7:30- 8:30 Breakfast
28 30-Ags5 Guitar Week is one of the finest programs of its kind in the world, staffed by some of the best players and instructors available. We have been awarded both the Bronze Medal and Silver Medal Player’s Choice Award for Music Camps by the readers of Acoustic Guitar magazine, and this high standard of quality is what keeps guitarists from across the globe coming back year after year. Many of our instructors are Grammy-winners and all are world-renowned in their individual styles of guitar playing and instruction. In addition to classes in acoustic guitar, we offer three classes in ukulele ranging from beginning to advanced. Our seventeen world-class instructors will be teaching acoustic guitar classes in jazz, swing, Celtic, bluegrass, ragtime, blues, Appalachian and of course, contemporary fingerstyle. We will offer beginning level classes to accommodate those students who aren’t quite ready for the intermediate-to-advanced levels, as well as a few classes suggested for more advanced players, so please read the descriptions carefully before you decide where you belong – we want everyone to get the most out of their week. For most of our classes it is recommended that students should play at an intermediate level: students should have mastered beginning skills, be able to tune their instruments, keep time, play scales cleanly, and know how to play a few tunes with confidence. For those who want some extra practice time at an easy pace, there will be a play-along session after lunch each day in the Pavilion, hosted by Al Petteway and Scott Ainslie. -
Will Ackerman Biography
Will Ackerman Biography Universally recognized as the preeminent pioneer in the new age music movement, and the founder of Windham Hill Records, Will Ackerman's career spans more than three decades of remarkable vision, single-minded determination, fervent business savvy, and "a thorough love of the mystery of making music." The glory years at Windham Hill with Ackerman at the helm launched the recording careers of an abundant list of acoustic instrumentalists, many of whom became household names. The primary influence Windham Hill cast on contemporary music over the last three decades of the 20th century emanated from folk roots, the acoustic guitar, and the piano. This legacy remains with Ackerman in a uniquely prolific and peerless career. From a distance, Will's life is anything but ordinary. Yet upon closer examination, the strongest, most colorful threads in the fabric of who he is are traditionally held values and pursuits almost anyone would consider commonplace. The reality is Ackerman's success is predicated on doing traditional things untraditionally well. Will lives on a large spread of land in Windham County, Vermont outside Brattleboro. There, on sprawling acreage among well-tended, expansive gardens sits a coterie of New England-style buildings collectively called The Compound. Amid the primary residence, the barn, the bakery, Screen House, The James, The Dream Garage, the potting shed and The Tower, stands Imaginary Road Studios, a three-story structure and state-of-the-art recording facility. Along with Corin Nelsen, Imaginary Road's chief engineer, Will built the studios in the early 1990s after clearing the land; felling and milling the timber; then using the wood in the construction of the building, floors and finishings. -
Percussive Fingerstyle Guitar Through the Lens of NIME: an Interview Study
Percussive Fingerstyle Guitar through the Lens of NIME: an Interview Study Andrea Martelloni Andrew McPherson Mathieu Barthet Queen Mary University of Queen Mary University of Queen Mary University of London London London 327 Mile End Road 327 Mile End Road 327 Mile End Road London, United Kingdom London, United Kingdom London, United Kingdom [email protected] [email protected] [email protected] ABSTRACT guitar performer, aimed at playing layered arrangements Percussive fingerstyle is a playing technique adopted by rich in rhythm patterns that are reminiscent of a full band. many contemporary acoustic guitarists, and it has grown This style was born between the 1980's and the 1990's substantially in popularity over the last decade. Its foun- out of the pioneering work of artists such as the late Michael dations lie in the use of the guitar's body for percussive Hedges; over the last decade, however, it has seen a remark- lines, and in the extended range given by the novel use of able rise in popularity and it has evolved into a commu- altered tunings. There are very few formal accounts of per- nity of players, mainly thanks to online media outlets. The cussive fingerstyle, therefore, we devised an interview study strong visual appeal of the percussive technique is surely to investigate its approach to composition, performance and one of the driving factors of its success; also, the ingenu- musical experimentation. Our aim was to gain insight into ity of the arrangements has a way of inspiring guitarists the technique from a gesture-based point of view, observe and other musicians who may be inclined to experiment on whether modern fingerstyle shares similarities to the ap- their instruments beyond traditional capabilities.